‎Lamart‎
‎Love‎

‎Art & Love‎

‎Gill, Eric: Art & Love. Bristol: Douglas Cleverdon, 1927. 26 pages with six etchings. Number 247 of 260 copies. Signed 'Eric Gill T.S.D.' in pencil on the colophon. Original black buckram, gilt-lettered spine, deckle edged. Printed by Robert Gibbings at the Golden Cockerel Press. Buckram. 20x12cms. Gill first published his reflection on art and Christianity in the journal, Blackfriars: A Monthly Review Edited by the English Dominicans in October 1924. An author's note in the present volume reveals that this reprint allowed for an expansion of Gill's theories which 'were formerly excluded in deference to puritan prejudice by editorial prudence.' He clarifies that these changes included the addition of section five, 'Clothes and Nakedness'. Long involved in the reintegration of craft (i.e. humanity) and industry, Gill's conversion to Catholicism in 1913 introduced a strictly spiritual approach to both his art and writings. In the present volume, Gill explored the act of creation as an act of love and worship. The volume includes six engravings which are exceptional examples of Gill's proficiency in the medium. Four engravings are explicitly religious, including a crucifixion and the inclusion of the hand of God.One print, For dignity and adornment, juxtaposes a 'pre-industrial' couple with a flapper and a tuxedoed man. The work accompanies Gill's criticism of contemporary fashion, 'The clothes of to-day clearly show that man has forgotten his dignity and he has forgotten his dignity because he has forgotten his Love.'.‎

‎Gill first published his reflection on art and Christianity in the journal, Blackfriars: A Monthly Review Edited by the English Dominicans in October 1924. An author's note in the present volume reveals that this reprint allowed for an expansion of Gill's theories which 'were formerly excluded in deference to puritan prejudice by editorial prudence.' He clarifies that these changes included the addition of section five, 'Clothes and Nakedness'. Long involved in the reintegration of craft (i.e. humanity) and industry, Gill's conversion to Catholicism in 1913 introduced a strictly spiritual approach to both his art and writings. In the present volume, Gill explored the act of creation as an act of love and worship. The volume includes six engravings which are exceptional examples of Gill's proficiency in the medium. Four engravings are explicitly religious, including a crucifixion and the inclusion of the hand of God.One print, For dignity and adornment, juxtaposes a 'pre-industrial' couple with a flapper and a tuxedoed man. The work accompanies Gill's criticism of contemporary fashion, 'The clothes of to-day clearly show that man has forgotten his dignity and he has forgotten his dignity because he has forgotten his Love.'‎

‎The Portrayal of Love. Botticelli's 'Primavera' and Humanist Culture at the Time of Lorenzo the Magnificent‎

‎Dempsey, Charles: The Portrayal of Love. Botticelli's 'Primavera' and Humanist Culture at the Time of Lorenzo the Magnificent. Princeton University Press, 1992. 173pp with 16 colour plates and 29 monochrome figures. Hardback. 26.2x20cms. Detailed study of Botticelli's 'Primavera', placing the work within its cultural and social context and using this to explore the relationship between poetry and painting. With index.‎

‎Detailed study of Botticelli's 'Primavera', placing the work within its cultural and social context and using this to explore the relationship between poetry and painting. With index‎

‎Christian Rosa: I am in Love with the Coco‎

‎Lobke, Matthia: Christian Rosa: I am in Love with the Coco. Exhibition: Heilbronn, Kunstverein, 2015. 64 pages, with 50 colour illustrations. Hardback. 32 x 23.5cms.‎

‎Werner Mannaers Love letters. ‎

‎Antwerpen, MER Paper Kunsthalle, 2012 Gebonden, Hardcover, 296 pagina's met illustraties in kleur, 30x21 cm, *new ISBN 9789490693893.‎

‎Een liefdesbrief geeft vorm aan de liefde. Mannaers schrijft er geen, hij schildert ze in zijn smeuige bad painting-stijl. Gedurende een periode heeft hij elke dag een Love Letter gemaakt en bestemd. De bestemmeling is een vrouw. Mannaers is tevens verliefd op de liefde, dat maakt zijn reeks algemeen menselijk. Kunstenaars kunnen niet zwijgen over (hun) kunst, ook als ze de liefde bedrijven. Zo is het boek Love Letters een visueel commentarierend beeldverhaal over de geschiedenis van de moderne kunst geworden. Het werk van Mannaers is steeds 'intertekstueel', d.w.z. dat in of onder een tekst er een andere schuilt. In zijn Love Letters vinden we een dubbel niveau van twee soorten gelaagdheden. Zijn schilderijen zitten vol referenties aan andere kunstenaars. Voor zijn dagelijkse Love Letters, gouache op papier, plukt hij hier en daar uit zijn eigen schilderijen die in de maak zijn. Lieftalliger met minder weerhaken. // Love letters shape love. Werner Mannaers doesn?t write love letters, he paints them in his characteristic ?bad painting? style. During a certain time span, the painter created a Love Letter each day; the recipient of which was always a woman. Mannaers is in love with love; which makes his current series especially human: artists never shut up about (their) art, even when making love. The book Love Letters groups these paintings Mannaers made over time. Each Love Letter is effectuated using gouache on paper. They refer to some of Mannaers? paintings that are currently in the making. Each Love Letter equally makes reference to other artists. This makes this publication more than a collection of recent Love Letters: the publication discreetly evolves towards a visual commentary on the history of modern art.‎

‎Strategies of Passion Love and Marriage in Medieval Iceland and Norway,‎

‎Turnhout, Brepols, 2005 Hardback, XIV+345 p., 160 x 240 mm. ISBN 9782503521633.‎

‎This book is concerned with the social and gendered meanings of love in medieval Norway and Iceland. In the Viking Age, to love would most often imply a submissive social position, while being loved by a woman could elevate a man above the status of her family. Women were supposed to love upwards in the social hierarchy, but could also use their desire to negotiate the social position of men. A close reading of the skaldic poetry shows the dilemma men faced when longing for women's love and approval. These ideas of love relations shaped Norse interpretations of courtly love and marriage formation by consent in the twelfth and thirteenth centuries. However, new ideas of sexuality, gender and aristocratic culture changed several aspects of love and marital affection in the later middle ages. Men became the loving subject, but in a way that did not challenge the social order. For women, ideal love was attached to humility and submission to parents and husband. But even though the new ideology of love and marriage to some extent neutralized the tensions between consent and parental control, the sources show that both men and women could use the new conceptions of love to serve their own marital and social strategies. Languages : English.‎